April 15 marks the centennial of the sinking of the Titanic, a milestone that has received generous coverage at Smithsonian. Filmmaker and deep-sea explorer James Cameron jumped the gun a bit by re-releasing a 3D version of his epic Titanic to selected theaters on Wednesday, April 4. Early box-office returns look promising.
Titanic is a movie that buffs love to hate, perhaps because it was such a blockbuster hit. I saw it when it first opened and was astonished by Cameron’s vision, grasp of detail, and sheer tenacity. It was a film that bulled its way to the top despite all the obstacles against it, earning respect if not admiration.
Cameron didn’t change much for the 3D upgrade (according to this article by Frank Lovece, the only new shot is a corrected map of the night sky), but the film now seems even more impressive. The 3D effects are minimal—most effective for me when the weight of water burst rivets from a buckled hull—but they have the paradoxical effect of making Titanic seem bigger and more intimate.
What’s clearer now, some 14 years after the film’s original release, is just how astute Cameron’s storytelling was. Titanic could have been just another disaster film, a period Poseidon Adventure in which we wait to see which cast member will die next. Instead, Cameron found a way to personalize this horrific incident through a romance as unlikely as it was compelling. The characters played by Leonardo di Caprio and Kate Winslet are conceived so well that viewers want them to survive, to beat the odds, just as they want their love affair to take hold despite family and class obstacles. The fact that their romance played out during a disaster gave added urgency to the unfolding events.
Titanic has its flaws, including over-the-top villains, too many water-sloshed corridors, and that grating pop song over the credits. But focused screenwriting, majestic imagery, crisp editing, and, now, 3D enhancements help make it an unforgettable moviegoing experience. The film’s sheer size and emotional pull work best in theaters, where viewers can share in a sort of communal catharsis.
For several years now, Luke McKernan’s blog The Bioscope has been a first-rate source of research into the world of early cinema. (He also edits an excellent early cinema aggregator on Scoop.It.) His latest piece, And the ship sails on, seems to me to be the definitive take on Titanic footage, real and faked. He also includes a clip of the recent British Pathé re-edit of the only genuine extant footage of the ship.
What I find fascinating is that filmmaker William H. Harbeck was a Titanic passenger, and may have shot footage during the fateful voyage. That film would be something to see. Mr. McKernan will cover this and more on April 15 at London’s The Cinema Museum when he delivers a talk on The Titanic Centenary, Featuring “The Ill-Fated Titantic.”
Unfortunately, as Mr. McKernan points out, the Titanic clip has been edited down from the original ten-minute Gaumont short.
Closer to home, Serge Bromberg will be hosting a night of screenings at the Brooklyn Academy of Music on Monday, April 9. Mr. Bromberg was one of the key figures behind the recent restoration of A Trip to the Moon, which I wrote about last year. In addition to the Méliès film, Bromberg is showing a new restoration of Buster Keaton’s The Boat and A Trip Down Market Street, a film of hypnotic beauty that was featured on a “60 Minutes” segment. Bromberg is a performer as well as an archivist and preservationist, and it’s always a treat to hear him play piano and provide backgrounds to the screenings. Plus he usually has a surprise film or two up his sleeve.
The Eighth Orphan Film Symposium starts on April 11 at the Museum of the Moving Image in Queens. I wrote about the Seventh Symposium, which featured little-known films by Orson Welles and Henri Cartier-Bresson, among others. The Symposium is an opportunity for archivists from all over the world to share their work, giving attendees sneak peaks at films that may become more accessible later. It’s where I first saw A Trip Down Market Street, for example. This year’s films include When the Organ Played “O Promise Me,” an Auroratone short starring Bing Crosby, and The Jungle, a 1967 drama about Philadelphia inner-city gangs made by the 12th and Oxford Street Film Makers.
On the West Coast, the TCM Classic Film Festival starts on April 12. A celebration of more mainstream films (Cabaret, Black Narcissus, Charade) that takes place in a number of Los Angeles theaters, the festival can be pricey, with passes running as high as $1199. The perks include the chance to mingle with stars like Mel Brooks, Kim Novak, and Debbie Reynolds, and TCM host Robert Osborne.
In a related note, Hugh Neely is asking for your help with the Mary Pickford Foundation’s funding of the Mary Pickford Institute for Film Education. You can sign a petition to insure that the institute’s work continues.
Finally, my editor pointed out this video by filmmaker Jeff Desom. Using Photoshop and After Effects, Desom took the wide shots in Alfred Hitchcock’s Rear Window and condensed them into a three-minute time-lapse shot that covers the entire film. As Desom explained in this interview, the original project turned the film into a continuous, 20 minute loop.
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